This presentation considers the past five years of my work as a dancer, a choreographer and a visual artist. The heart of this period is the on-going project phréatiques (aquifers). The latter is based on combinations of dance, drawing and verbal thinking. Its process relies on scores that trigger the dynamic interplay between interiority and collectivity.
Throughout these five years, the project has been consistently busy with artistic research. But in ways that varied greatly with time and circumstances. I propose here to observe those differences, thus problematizing what artistic research means for me. But also what are its function and inscription within its larger context. The procedure is to approach these five years in three distinct periods, and to apply to each of them the same analysis. Each period will be looked at through three angles. The first one concerns my aims, desires and expectations setting up the research. The second one is about the practices, methodology and poetics it involves. Finally, the third aspect reflects on how it is addressed (or not) to peers, audience and institution.
To follow this trajectory, we start in a willfully “reclusive” and condensed situation where for nine months my sole spectator and collaborator was a philosopher quite foreign to contemporary dance. Then we reach a period made of many residencies, a sustained collaboration with four dancers and the creation of pieces: a performance, a dance piece and exhibitions. The last part brings us to two institutions: the Amsterdam Master of choreography I am currently studying at, and Sarma, with whom I organize a workshop, a lecture and work on an on-line publication. The research appears to be more and more proliferating throughout a web of collaborations and formats, diversifying its modes of articulation between the “private” studio and the “public” occurrences.
Duration: two hours.
Technical requirement: a video beamer.